Throughout history, avant-garde filmmakers have recycled, repurposed, and reimagined older images into their own liking. In culling from a diverse array of sources—advertisements and educational films, newsreels and major motion pictures—they’ve constructed novel works that prove spellbinding in their new contexts. The sources from which they pull have been as varied as the results: filmmakers have focused on materiality, using optical printers to deliriously playful ends; they’ve constructed intertextual montages to illuminate systems of power; and they’ve conjured up peculiar and complex emotional networks that cut across generations and genres. The ten films (nine of which will be shown on 16mm) present a slew of different ideas and modes within the overarching umbrella of “found-footage”—its aesthetics are boundless.

Guy Sherwin, At the Academy (1974, 5 mins, b/w, sound, 16mm)

Craig Baldwin, Stolen Movie (1976, 9 mins, color, sound, digital)

Julie Murray, If You Stand with Your Back to the Slowing of the Speed of Light in Water (1997, 18 mins, color, sound, 16mm)

Sharon Couzin, Deutschland Spiegel (1980, 12 mins, color, sound, 16mm)

Abigail Child, Mutiny (1983, 11 mins, color, sound, 16mm)

Kerry Laitala, Retrospectroscope (1997, 5 mins, b/w, silent, 16mm)

Amy Halpern, By Halves (2012, 7 mins, color, silent, 16mm)

Peter Kubelka, Poetry and Truth (2003, 13 mins, color, silent, 16mm)

Phil Solomon, Nocturne (1980, 10 mins, b/w, silent, 16mm)

Standish Lawder, Raindance (1972, 16 mins, color, sound, 16mm)

Total runtime: 106 mins // there will be a 10 minute intermission after Mutiny.